Robert Glasper Experiment | Black Radio 2

Robert Glasper Experiment | Black Radio 2
Blue Note
By Peggy Oliver

When an artist commits to a sequel that rides on the extremely successful
previous work, the expectations to top its predecessor are exceedingly
high, certainly when the predecessor was recognized with a Grammy Award.
With a wealth of musical co-horts at his disposal and a tight band
under his leadership, Robert Glasper was ready to meet the needs of fans
and critics to follow-up the R&B Grammy Awarded 2012 release, Black Radio.
Though the Glasper Experiment was introduced on Glasper’s Double Booked
CD in 2009 for Blue Note, it was the R&B, hip-hop and electronic
bliss that led the keyboardist/composer into developing his unique urban
kaleidoscope sprinkled with dashes of jazzamatazz, that introduced Black Radio,
the companion remix project and The Experiment into monster notoriety.
Now the daunting question on the minds of Glasper’s loyalists, will Black Radio 2 live up to those expectations as a sequel?

The results are in and Black Radio 2 entails many appealing performances, yet not quite on the ‘risk taking’ level inspired by its original premise. The theme of Black Radio,
“Baby Tonight,” partially acts as a montage of the project’s soloists,
ushered by Common: “From the projects/This is just a view of Black Radio 2.”

There are many soul sisters who confidently pilot Black Radio 2.
Brandy and Faith Evans revisit their old-school R&B roots that
brought them significant amount of hits in the nineties and early
2000’s. “What Are We Doing” finds Brandy easily gravitating to that
hypnotic nineties’ new jack swing. “You Own Me” is pure Faith Evans over
a hip-hop induced rhythms recalling her Bad Boy Records era and
Glasper’s glittering acoustic piano improvisation that shadow Evans’
background vocals. Special kudos to Marsha Ambrosius’ intuitive spacing
and edginess throughout “Trust,” where emotion after emotion is peeled
off slowly but surely. Amongst the triumphs, there is one mild
disappointment as Jill Scott’s vocal presence is somewhat suffocated on
the first single, “Calls,” mostly due to the song’s over repetitive
chorus and bland filler.

The men of soul carry their vocal weight, as well. Anthony Hamilton’s gospel-fueled voice on”
Yet to Find” yearns to maintain the relationship through the trenches.
“No Worries” is an understated poignant tale from Dwele on consoling
one’s love mate. The stirring urban pop anthem by Common and Patrick
Stump (Fall Out Boy), “I Stand Alone,” emphatically points out avoiding
imitation and instigating individualism.

By far, the biggest risk taker is “Let it Ride,” a jazzy drum and bass/neo-soul
stew accentuating Nora Jones’ lush voice and capped by Wayne Brady’s
insanely zany answering machine message about keeping the music for
real. Maybe the experimental elements are overall lacking. Yet Black Radio 2
still renders a soulfully, consciously charged stand-alone radio
station, especially considering Lalah Hathaway’s perceptive rendition of
Stevie Wonder’s “Jesus Children of America,” that should easily
generate more sequels.

Peggy Oliver
The Urban Music Scene